Women's fates in the epic novel Quiet Flows the Don. Women's fates in the epic novel "Quiet Flows the Don" Natalia's love for Grigory

- Fine? And my good idol from a young age killed to death, but for no reason at all, my guilt before him was not in the least. He messed up himself, but plucked it out of spite. He used to come at dawn, cry out with bitter tears, reproach him, well, he will give free rein to his fists ... For a month, she was all blue, like iron, but she survived, and she fed the children, she never thought to leave the house.

She carefully cares for the sick Natalya, for her grandchildren. Condemning Daria for too free behavior, nevertheless hides her illness from her husband so that he does not kick her out of the house. There is some greatness in her, the ability not to pay attention to trifles, but to see the main thing in family life.

The strong, wise Ilyinichna constantly fusses, worries and takes care of all the household members, tries in every possible way to protect them from troubles, adversities, from rash acts; stands between her husband, uncontrollable in anger, and proud, temperamental sons, for which he receives blows from her husband, who, feeling the advantage of his wife in everything, is thus affirmed.

Ilyinichna did not understand the events of the revolution and the civil war, but she turned out to be much more humane, smarter, more perspicacious than Grigory and Panteley Prokofievich. So, for example, she reproaches her youngest son, who chopped sailors in battle, supports Panteley Prokofievich, who kicks Mitka Korshunov out of his convoy. “So you and I, and Mishatka and Polyushka, could have been chopped up for Grisha, but if they didn’t, they had mercy,” says the indignant Ilyinichna Natalya. When Darya shot the captive Kotlyarov, Ilyinichna, according to Dunyasha, "was afraid to spend the night with her in the same hut, went to her neighbors."

All her life she, not sparing her health, worked, making good bit by bit. And when the situation forces her to give up everything and leave the farm, she declares: “Let them kill you at the threshold - everything is easier than dying under someone else's wattle fence!” This is not greed, but the fear of losing one's nest, roots, without which a person loses the meaning of life. She understands this with a feminine, maternal instinct, and it is impossible to convince her.

Ilyinichna values ​​honesty, decency, and purity in people. She is afraid that the cruelty surrounding them will affect the soul and consciousness of Mishatka's grandson. She resigned herself to the idea that the murderer of her son Peter became a member of their family by marrying Dunyasha. The old mother does not want to go against the feelings of her daughter, and man's strength is needed in the household. Ilyinichna reconciles, seeing how Dunyasha reaches out to this man, how the nervous, hard look of Koshevoy warms up at the sight of her grandson, Mishatka. She blesses them, knowing that the life she has known so far cannot be returned, and she has no power to fix it. This shows the wisdom of Ilyinichna.

The heart of a Russian mother is so easy-going that Ilyinichna, hating the murderer of her eldest son Mishka Koshevoy, sometimes feels maternal pity for him, either sending him a sackcloth so that he does not freeze, or darning clothes. However, with the arrival of Koshevoy in the Melekhovsky house, she suffers mental anguish, she remains alone in her house, unnecessary to anyone. Ilyinichna, overcoming the anguish and pain of her losses, took a decisive step towards the new that will come after her, to which others will be witnesses, and with them her grandson Mishatka. And how little Koshevoy needed to show tenderness, not at all to her, but to her grandson Mishatka, so that she would make this breakthrough, reuniting in our minds into a single majestic image of Ilyinichna - both young and old, and Ilyinichna of the last days of her life ... Here , in fact, the culmination of Ilyinichna's spiritual movement towards the new that will come after her. She now firmly knew that the “murderer” could not smile so tenderly at Mishatka - Grisha’s son, her grandson ... And Ilyinichna, resigned to the will of her daughter, before the force of circumstances, steps over the natural repulsion from the murderer of her eldest son, takes into the house so hated by her , charged with an alien "truth" of a person, and even begins to feel "unsolicited pity" for him, when he is exhausted, oppressed and tormented by malaria. Here it is - the great, redeeming pity of the mother's heart for the lost children of this cruel world! And before her death, she gives Dunyasha the most precious thing for Mishka - Grigory's shirt, let him wear it, otherwise he was already soaked with sweat! This is the highest gesture of forgiveness and reconciliation on her part!

In the last chapters, Sholokhov reveals the tragedy of a mother who lost her husband, son, many relatives and friends: “She lived, broken by suffering, aged, miserable. She had to experience a lot of grief, perhaps even too much ... ". The “hard old woman” Ilyinichna “did not shed a tear when she learned about the death of her husband, but only closed herself in. Having buried her eldest son, husband, daughter-in-law within a year, Ilyinichna was most afraid of Grigory's death. Ilyinichna thinks only of him. She lived only for them the last days: “I have become old ... And my heart hurts about Grisha ... It hurts so much that nothing is cute for me and it hurts to look at my eyes.” In longing for her son, who still did not return, Ilyinichna takes out his old coat and cap, hangs them in the kitchen. “You go in from the base, take a look, and somehow it becomes easier ... As if he is already with us ...,” she says to Dunyasha, smiling guiltily and pitifully.

A short letter from Grigory with a promise to come on a visit in the autumn brings great joy to Ilyinichna. She proudly says: “The little one remembered his mother. How does he write? By patronymic, Ilyinichnaya, he called ... I bow low, I write to my dear mother and dear children ... "

War, death, anxiety for a loved one reconciled Ilyinichna with Aksinya, and through the eyes of Aksinya we see the grief of the inconsolable mother, who understands that she will no longer see her son: an inaccessible distant star, the fire laid out by mowers flickered. Aksinya clearly saw Ilyinichna's swollen face illuminated by the blue moonlight, a gray strand of hair escaping from under the old woman's black shawl. Ilyinichna looked for a long time into the twilight blue of the steppe, and then, not loudly, as if he were standing right there, next to her, she called: “Gryshenka! My dear one! - She paused and already in a different, low and deaf voice she said: - my little blood ... "

If earlier Ilyinichna was restrained in her feelings, then at the end of the novel everything changes, she seems to be all made up of motherly love: “It is amazing how short and poor life turned out to be and how much hard and sadness was in it, in her thoughts she turned to Grigory ... And on her deathbed she lived with Gregory, she thought only of him...”.

The image of Ilyinichna in the novel is a pure image of motherhood, the image of the “Don Madonna”. And maternal love, thanks to this image, turns out to be especially naturally deeply connected with the metaphysical limits of human life: birth and death. Only a mother, with every cell of her being, with every drop of blood, cannot accept the death of her son, his disappearance from the white world, where she gave birth to him for life and joy. How many maternal tears, longing, lamentations spilled over the "Quiet Don"! And mothers burrow into the shirts left over from their dead sons, looking for in their “folds the smell of sons’ sweat”, at least some, but a material trace and a remnant of the person they most deeply loved.

2.5. Other female characters: Daria, Elizaveta Mokhova, Dunyasha

Daria Melekhova

If the struggle between the ideas of sacrifice and self-will creates in the images of Aksinya and Natalya a constant tension of the struggle for happiness, then in the image of Daria, mired in fornication, M. Sholokhov openly, convexly highlights the motive of impurity as the main feature of her character.

Daria Melekhova is mentioned already in the first chapter of the novel. But her image of Sholokhov is created differently than the images of Aksinya or Natalya. When describing the appearance of his characters, the author seeks to draw a memorable visual image, to recreate a person in a unique movement. The pictorial details themselves almost always take on a distinctly psychological character. He is occupied in the portrait not only by expressiveness, the characteristic appearance, but also by the type of life behavior, the temperament of a person, the mood of a given moment. The portrait in Sholokhov's novels shows the hero in a certain life situation and mood.

At the first appearance of Daria, only "calves of white legs" are mentioned. In the chapter of the novel, which describes the return of Aksinya Astakhova in the early morning from the sorceress home, Sholokhov draws attention to the eyebrows of Daria, who met him: “Melekhova Daria, sleepy and ruddy, moving her beautiful arches of her eyebrows, drove her cows into the herd.”

Then again Darya's eyebrows (“thin eyebrow rims”), which she played with, looking around Grigory, who was about to go to the Korshunovs to woo Natalya. When Uncle Ilya whispers obscenities to Daria at the wedding of Grigory and Natalya, she narrows her eyes, twitches her eyebrows and chuckles. In Daria's manner of playing with her eyebrows, squinting her eyes, and in her whole appearance something vicious is caught.

This viciousness is also connected with Daria's dislike for work. Pantelei Prokofievich says about her: "... a lazy woman, spoiled ... blushes and blackens her eyebrows ...".

Gradually, the features of Daria emerge more clearly. In the portrait sketch made by Sholokhov, behind the lightness of beautiful movements one can feel the worldly tenacity, the dexterity of this woman: “Daria ran, shuffling her felt boots, rumbled with cast iron. Married life did not yellow, did not dry her - tall, thin, flexible, like a red-haired twig, she looked like a girl. Curled in her gait, shrugging her shoulders; she laughed at her husband's shouts; under the thin border of evil lips, small, frequent teeth were densely visible.

A close-up image of Daria is shown two months after the mobilization of her husband Peter for the war. With cynical playfulness, she tells Natalya about games, about her desire to "indulge" and makes fun of her, "quiet". The war had a special effect on this woman: feeling that it was possible not to adapt to the old order, way of life, she unrestrainedly surrendered to her new hobbies: even more attentive to your appearance”; “... Daria did not become the same at all ... More and more often she contradicted her father-in-law, did not pay attention to Ilyinichna, for no apparent reason was angry at everyone, escaped from the mowing with ill health and behaved as if she lived out her last days in the Melekhovsky house days..."

To reveal the image of the elder daughter-in-law Melekhov Sholokhov uses many details, they are determined by her character.

Daria is a dandy, so clothing details play a huge role here. We saw the broken Daria "dressed up", "smartly", "dressed richly and clearly", "dressed up, as if for a holiday." Drawing her portrait, Sholokhov throughout the novel mentions more and more details of Darya's clothes: a crimson woolen skirt, a pale blue skirt with an embroidered hem, a good and new woolen skirt.

Daria has her own gait, always light, but at the same time diverse: curly, bold, cheeky, wagging and fast. At various specific moments, this gait is connected in different ways with other movements of Darya, her facial expression, her words, moods and feelings.

Indirect characteristics play a significant role in the depiction of her portrait. “She buries herself from work like a dog from flies”, “she completely strayed from her family,” says Pantelei Prokofievich about her.

Comparison of Daria with a "red-tipped twig" expresses the essence of Daria's character, as well as the author's emotional attitude towards her. “But Daria was still the same. It seems that no grief could not only break her, but even bend her to the ground. She lived in this world, like a “red-thawed twig”: flexible, beautiful and accessible.

Over the years, the character of Grigory, Aksinya, Natalya, Dunyasha and other heroes of The Quiet Don gradually changes, "but Daria was still the same."

Although the character of Daria does not change, he is still contradictory. So, for example, she, without hesitation, cheats on her husband on the way to the front. However, having arrived, “with tears of sincere joy, she hugs her husband, looks at him with truthful clear eyes.” She will go through grief very violently when the Cossacks bring home the murdered Peter. “Daria, slamming the doors, swollen, jumped out onto the porch, collapsed into the sleigh. - Petyushka! Petyushka, dear! Get up! Get up!" This scene is drawn by Sholokhov very dramatically. When Daria begins to shout for Peter, Grigory's eyes are covered with black. But her grief was short-lived and left no trace on her. “At first, she yearned, turned yellow with grief, and even grew old. But as soon as the spring breeze blew, the sun barely warmed up, and the melancholy of Darya left along with the melted snow.

So, for example, Daria’s cynicism is not only in how she “silently smiled”, “without much embarrassment” looked at the general who gave her a cash award and a medal, but also in how she thinks at this very moment: “Cheap they regarded my Peter as no more expensive than a couple of bulls ... And the general was wow, suitable ... ”. Her cynicism is also manifested in how willingly she jokes with “obscene words”, sharply answers questions, confuses and puzzles those around her.

The faster the Melekhov family is destroyed, the easier Daria violates moral standards. Sholokhov achieves this by forcing characteristic details. So, for example, after killing Ivan Alekseevich Kotlyarov, she straightened her head scarf with the usual gesture, picked up her stray hair - all this emphasizes her vindictiveness, anger and the fact that Daria did not realize her act. Then, after the murder, Sholokhov describes the woman through the eyes of Grigory in order to convey a feeling of disgust: “... He stepped on Daria’s face with a forged heel of a boot, blackened by half-arches of high eyebrows, croaked:“ Ggggadyu-ka.

When Daria told Natalya about the “sticky illness”, Natalya “was struck by the change that happened to Darya’s face: her cheeks were drawn and darkened, a deep wrinkle lay obliquely on her forehead, a hot, anxious gleam appeared in her eyes. All this could not be compared with the cynical tone she spoke, so it very clearly conveyed the real state of mind of the heroine.

The inner world of Gregory, Aksinya, Natalya, and other heroes is revealed through their perception of nature, this cannot be said about Daria. And this is not accidental, since the feeling of nature did not play a role in her experiences. But after the misfortune that happened, she draws attention to her: “I look at the Don, and there is a swell on it, and from the sun it is pure silver, it shimmers all over, it hurts my eyes to look at it. I turn around, I look - Lord, what a beauty! And I didn’t notice her.”

In this monologue - the drama, the futility of her whole life. Daria with all immediacy shows in this speech the bright, human feelings that lurked in her soul. Sholokhov shows that this woman still has the ability to perceive the world vividly, but it appears only after realizing the hopelessness of her grief.

Daria is a stranger to the Melekhov family. She paid dearly for her frivolity. Fearing the inevitable, lost in loneliness, Daria decided to commit suicide. And before merging with the waters of the Don, she shouted not to anyone, but to women, since only they could understand her: “Farewell, babonki!”.

Daria herself says about herself that she lives like roadside henbane blossoms. The image of a poisonous flower is metaphorical: communication with a harlot woman is as deadly for the soul as poison for the body. Yes, and the end of Daria is symbolic: her flesh becomes poison for others. She, as the embodiment of evil spirits, seeks to drag as many people as possible into death. So, if Aksinya only for a moment imagined the opportunity to get rid of Stepan, then Daria kills Kotlyarov in cold blood, although he is her godfather, that is, they became related in Christ when the child was baptized.

Lust and death go hand in hand in the artistic world of M. Sholokhov, because "everything is allowed" if there is no faith in a higher, absolute principle, which is associated with the concept of righteous judgment and retribution. Nevertheless, the image of Daria is not the last step on the path of turning a woman into a creature that tirelessly sows evil and destruction around herself. Daria, before her death, nevertheless came into contact with another world - harmony, beauty, divine majesty and order.

Elizaveta Mokhova

In the novel there is a female image, which in terms of following the path of evil

can be directly correlated with Gogol's witches. This is the image of Elizaveta Mokhovaya, who grew up "like a bush of wild wolf berries in the forest." She continues a series of female characters who realize themselves outside the home and family. These heroines line up a certain chain of comparisons: Aksinya with a drunkard, Daria with henbane, Liza with a wolfberry. Mokhova first confused the head of Mitka Korshunov, who offered her a “crown” to cover her sin, then she charmed an unknown Cossack student. The duality of female beauty in her image reaches its climax, which is manifested in the portrait: the smile “stings” or “burns” like a nettle, she has very beautiful eyes “with a hazel tint, but at the same time unpleasant.” Men easily converge with Elizabeth, and without any feelings on her part. Perhaps this is the most cynical version of the relationship between a man and a woman in the novel, moreover, accompanied by "satanic" imagery: "This is not a woman, but a fire with smoke!" In the description of Mokhova, M. Sholokhov resorts to direct quotations from Gogol. The exclamation of the student: “She is devilishly good,” almost literally repeats the statement of the blacksmith Vakula about Oksana. The student's confusion with the female charm of Mokhova is so great that, one might say, she

penetrated into all layers of his soul, determining the life choice. The student chooses characteristic expressions for his passion: “she has entangled me like mud”, “it has grown into me”.

He tries to escape from longing for the war, but even there he meets a nurse who is strikingly similar to Lisa: “I looked at her, and I trembled against the wagon. The resemblance to Elizabeth is extraordinary. The same eyes, oval face, nose, hair. Even the voice is similar. In this passage, the very shock of the hero is significant, equivalent to how "all the veins trembled" in the blacksmith Vakula when he heard Oksana's laughter.

But if for Gogol's heroes love-passion ends in a quiet family idyll, then Sholokhov's heroine despises the family hearth, which would bind her to the duties of wife and mother. A Cossack student writes in his diary: “She is proud of the perfection of the forms of her body. The cult of self-reverence - the rest does not exist. Before us is a woman in whose soul a substitution has occurred:

instead of the “image and likeness of God”, Satan rules the ball, bringing the cult of the flesh

to self-deification. The “atmosphere of Artsybashevshchina”, in which the hero and his chosen one resides, is so suffocating that he prefers to go to war. And here, in the thoughts of the hero, another quote from Gogol arises, which allows us to assume that the Cossack in The Quiet Don is vaguely, but still

feels that in life there is another system of values, another world, which is based on opposite human-divine principles. He writes in his diary: “Exit! I'm going to war. Stupid? Very. Shameful? That's right, I have nowhere to put myself. At least a grain of other sensations. Is it not waking up

does the character of Sholokhov have an unconscious thirst for a conciliar, common cause that would destroy individualistic isolation, accompanied by the power of evil forces over the human soul?

Anna Pogudko

In the novel by M. A. Sholokhov, Cossack women are perhaps the only ones who are not influenced by political passions. However, in the "Quiet Don" there is also the heiress of the "progressives" of F. Dostoevsky - the fiery revolutionary Anna Pogudko. M. Sholokhov the artist does not demonize the heroine, she is characterized by human weaknesses, love-pity for Bunchuk, but the spiritual nature, the spiritual essence of this type of personality - a woman-destroyer - remains unchanged. She voluntarily joins the team of Red Guard machine gunners to learn how to kill. M. Sholokhov gives an expressive description: “Anna Pogudko delved into everything with keen curiosity. She importunately molested Bunyk, grabbed him by the sleeves of the clumsy demi-season, relentlessly stuck out near the machine gun.

The author notes Anna's "unfaithful and warm gleam of eyes", her passion for speeches, fanned by sentimental romanticism. This pity for the distant is paradoxically combined with hatred for the near. The desire to kill for the sake of a utopian dream is enormous: “a wrong, stumbling trot” leads Pogudko people into the attack. Retribution follows immediately, her death is terrible, naturalism in the description of the agony is deliberately accentuated by the author. From a blooming woman, the heroine turns into a half-corpse, she seems to be burning alive in hell: "Blue-yellow, with streaks of frozen tears on her cheeks, with a pointed nose and a terribly painful fold of her lips", the dying constantly requires water, which is not able to fill her inner, all-burning fire.

The passion for victory at any cost, including death, is higher than love, even on a date with Bunchuk, Anna did not forget about machine guns. She "enchants" Bunchuk until the final spiritual and physical death, his behavior after the death of his girlfriend is infernal - he is likened to a beast. It seems symbolic that his executioner-volunteer Mitka Korshunov kills him, giving him the following assessment: "Look at this devil - he bit his shoulder to blood and died like a wolf, silently."

Unrealized female ambitions, lack of humility result in a desire to destroy everything and everything. People with "new" ideas are very welcome here.

And yet in Anna there is a feminine, maternal principle, which is dissolved in different degrees in almost every true love of a woman for a man: in the love of Natalya and Aksinya for Grigory, and in the love of the “deep-eyed” Anna Pogudko for Bunchuk ... If for Bunchuk, three weeks of his typhoid unconsciousness were weeks of wandering "in another, intangible and fantastic world", then for the ideologically exalted girl they became a test of her first feeling, when "for the first time she had to look so close and so nakedly at the wrong side of communication with her beloved" , encounter in "dirty care" with lousy, ugly emaciated, foul-smelling flesh and its grassroots secretions. “Inwardly, everything reared up in her, resisted, but the dirt of the outer did not stain the deeply and securely stored feeling”, “love and pity that had not been experienced before”, love here is motherly self-sacrificing. Two months later, Anna herself came to bed with him for the first time, and Bunchuk, dried up, blackened from execution work in the Revolutionary Tribunal (although he left there that day), turned out to be powerless - all the erotic moisture of this, albeit ideologically playing himself, executioner in the service revolution burned out in horror and breakdown. Anna managed to overcome "disgust and disgust" and, after listening to his stuttering, feverish explanations, "silently hugged him and calmly, like a mother, kissed him on the forehead." And only a week later, Anna's caress, maternal care warmed up Bunchuk, pulled him out of male impotence, burnt out, a nightmare. But on the other hand, when Anna painfully dies in the arms of Bunchuk from a wound in battle, the loss of the woman she loves makes everything in him and around him meaningless, brings him into a state of complete apathy, dispassionate automatism. It does not help at all with what he was strong and fierce before: hatred, struggle, ideas, ideals, historical optimism ... everything flies into hell! Indifferently, half asleep, he adjoins the expedition of Podtelkov, simply "just to move, just to get away from the longing that followed him on the heels." And in the scene of the execution of the podtelkovites, Bunchuk is the only one who keeps looking “into the gray distance swaddled with clouds”, “at the gray haze of the sky” - “it seemed that he was waiting for something unrealizable and gratifying”, perhaps from childhood superstitions long trampled about meetings after the coffin, madly hoping for the only thing that could satisfy his immense longing, that longing that had dropped him as an inflexible Bolshevik and humanized him.

Dunyasha

After the death of Natalya and Ilyinichna, Dunyashka becomes the mistress of the Melekhov kuren, she will have to reconcile the antagonist heroes in the same house: Melikhov and Koshevoy. Dunyashka is a particularly attractive female character in the novel.

The author introduces us to the youngest of the Melekhovs, Dunyasha, when she was still a long-armed, big-eyed teenager with thin pigtails. Growing up, Dunyasha turns into a black-browed, slender and proud Cossack woman with an obstinate and persistent Melekhovsky character.

Having fallen in love with Mishka Koshevoy, she does not want to think about anyone else, despite the threats of her father, mother and brother. All the tragedies with the household are played out before her eyes. The death of his brother, Daria, Natalya, father, mother, niece takes Dunyasha very close to his heart. But, despite all the losses, she needs to move on. And Dunyasha becomes the main person in the ruined house of the Melekhovs.

Dunyasha is a new generation of Cossack women who will live in a different world than her mother and brothers, Aksinya and Natalya. She entered the novel as a sonorous, ubiquitous, hardworking teenage girl and went all the way to the beautiful Cossack woman, without tarnishing her dignity in anything. The image is imbued with lyricism and dynamism of youth, openness to the whole world, immediacy of manifestation and trembling of the first dawn of feelings, which Sholokhov associates with the dawn - the rising hope for life in new conditions. In the act of the daughter, with which Ilyinichna was forced to come to terms, there is a rejection of some outdated elements of the traditionally Cossack (and not only Cossack) family, but there is no destruction of its foundations here. Yes, the personal choice of the future spouse seems to be more “happy” for Dunyasha to create a family. But he also considers parental blessing obligatory, and, despite all the difficulties, he receives it. With difficulty, but still, he achieves from the atheist and "utterly evil at himself and everything around" Mikhail Koshevoy the church consecration of their marriage. She maintains an unshakable faith in the healing power of the Orthodox canons of family love.

Perhaps she managed to understand something in the new time that was not understood by many of her contemporaries: people are embittered and do things that are sometimes vile and tragic

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The concept of an infernal woman, her distinctive features and lifestyle features. The specificity of the disclosure of the image of the infernal woman F.M. Dostoevsky in his novels "Crime and Punishment" and "The Idiot", an autobiographical influence on the creation of images.

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Women's fates in the epic novel "Quiet Flows the Don"

Women are central to the epic; women of different ages, different temperaments, different destinies - the mother of Grigory Ilyinichna, Aksinya, Natalya, Daria, Dunyashka, Anna Pogudko and others.

The fate of female Cossacks is the most tragic. It is impossible to name a single heroine who would always be happy. Dependent on male power and whim, they meekly accept all hardships, but their souls do not become stale, but on the contrary, it is women who try to smooth out those situations that arise in connection with the terrible times of war and revolution. Inviolability among the Cossacks of the house, family M. Sholokhov reveals in female images. The mother of Grigory Ilyinichna and his wife Natalya embody the best features of a Cossack woman - reverence for the sanctity of the hearth, fidelity and devotion in love, patience, pride, diligence. Natalya's rival Aksinya is a beautiful woman with an independent bold character, a stormy temperament, complements the female image of a Cossack, making it more vivid.

The image of the old Ilyinichna, personifying the difficult lot of a Cossack woman, her high moral qualities, is full of charm in the novel. The wife of Panteley Melekhov, Vasilisa Ilyinichna, is a native Cossack of the Upper Don region. Life with her husband was not sweet, sometimes, having flared up, he severely beat her, she grew old early, got fat, suffered from illnesses, but remained a caring, energetic housewife. Fate did not spoil this woman, but love for children was her only consolation. With unquestioning understanding, she accepted all the ordeals of life of her children.

Gregory's mother was a truly close person for him. She understood him like no other. She also called him to philanthropy: “We used a rumor that you chopped up some sailors ... Lord! Yes, you, Grishenka, come to your senses! You’ve got to get out, looking at what children are growing up, and these, ruined by you, also, I suppose, have left children ... In your childhood, how affectionate and desirable you were, but at the same time you live with shifted eyebrows.

Human life is priceless, and no one has the right to dispose of it even in the name of the noblest ideas. Grigory's mother spoke about this, and the hero himself came to the realization of this as a result of his life ordeals.

Ilyinichna, yearning before her death, hopes only to see Grigory, the only surviving successor of the Melekhov family. But fate deprived her even of this joy.

Ilyinichna, in her eternal female pity and wisdom, shows a worthy way of reconciling one camp with another. Gregory's mother, resigned to her daughter's will, to the force of circumstances, steps over the natural repulsion from the murderer of her eldest son, takes into the house a person so hated by her, charged with an alien "truth". But gradually, peering into him, she highlights some of his unexpected reactions (say, attention and affection for the son of Grigory Mishatka) and suddenly begins to feel “unsolicited pity” for him when he is exhausted, oppressed and tormented by malaria. Time passes, and suddenly an unsolicited pity for this man she hates - that aching maternal pity that conquers even strong women, woke up in Ilyinichna's heart.

Great, redemptive pity for the lost children of this cruel world is the fate of a mother's heart. And before her death, she gives Dunyasha the most precious thing for Mishka - Grigory's shirt, "let him wear it, otherwise he was already soaked with sweat." This is the highest gesture of forgiveness and reconciliation.

Natalia, resigned, faithful to her husband, is the image of an ideal woman, whose fate is always decided by someone else, but whose life and death are always in her hands. Strong in character, Natalya put up with the position of an unloved wife for a long time and still hoped for a better life. But she can resolutely stand up for herself and her children, powerfully declare her right to a bright, real life. She curses and loves Gregory endlessly. With unprecedented depth in the last days of her life, the strength of spirit and the conquering moral purity of this heroine are revealed. Her happiness came to her. The family was restored, Natalya's asceticism brought harmony and love to her. She gave birth to twins, a son and a daughter. Natalia turned out to be just as loving, devoted and caring mother as she was a wife. This beautiful woman is the embodiment of the dramatic fate of a strong, beautiful, selflessly loving nature, who can sacrifice everything, even life, in the name of a high feeling. Natalya, a quiet, selfless, pure woman, turns out to be capable of a pure sin (according to Christian concepts) - to lay hands on herself, and even on Easter night, and later - albeit in a burning resentment against her husband for his infidelity - to kill her own fetus, their possible future child.

To the point of impossibility to carry and endure his child - taking revenge on him and herself by cutting out a living embryo, forgives Gregory before death, dying reconciled.

The fates of Ilyinichna and Natalya are vivid examples of the fates of the majority of Cossack women. Their destinies are broken not so much by great historical events, but by personal tragic experiences associated with the death of loved ones, personal insult inflicted by someone, betrayal. It cannot be said here that external social circumstances do not in any way affect the fate of women. Great historical events leave their mark on the lives of heroines, but, unlike men, they experience all this not with their minds, but with their souls, which drains their strength. There is a logical chain: wars, revolution, uprising in their own way decided the fate of many Cossacks, in turn, this was reflected in the fate of their native women.

The restrained, modest in feelings worker Natalya is opposed by the ardent, passionate Aksinya, with her "vicious beauty". The fate of both Aksinya and Natalya is tragic. There was a lot of hard things in their lives, but they both knew real human happiness, which they sought and kept as best they could. The image of Aksinya, drawn with remarkable skill, runs through the whole novel. World literature does not know of another work where the writer penetrated so deeply into the inner world of a peasant woman, a simple woman from the people. Aksinya is a complex nature and rich in her own way, with strong and deep feelings.

The fate of Aksinya is also tragic. Young Aksinya does not break down from the rape of her father and his murder by relatives (which, perhaps, is even worse), and even never, in any way, remembers this. Love for Gregory, huge and all-consuming, concentrated in itself all the brightest that she had in her sorrowful life. A faithful companion and friend of Gregory, she not only shares with him all the hardships, not only experiences all the humiliations, all the bitterness of her ambiguous position, but also becomes a victim of Melekhov's fatal mistakes. Aksinya shares the tragic fate of Grigory himself. She, too, could not find her way in life. Her love for Gregory was not able to give her true happiness, to make life meaningful and meaningful. This love eventually led Aksinya to death.

Aksinya's love for Gregory borders on heroism. And even though we have a simple semi-literate Cossack woman in front of us, we cannot forget how beautiful the inner world of this woman with a difficult fate is. However, unlike many other women, Aksinya decides her own fate: she independently and consciously chooses between her unloved husband and Gregory the second, although he knows that this will be a shame for life. But this still did not allow her happiness to be fenced off from external circumstances. The death of an only daughter leads to betrayal of a loved one, and his departure to subsequent disappointment in life.

Love is the force that brings Aksinya back to life. She worries about Gregory, loves his children after the death of their mother, thinks about how to arrange their lives in the future. The struggle for happiness gives strength to the fateful decisions in her life: she leaves the village with Grigory and the Cossacks for the first time, and tragically dies from a bullet when leaving with Grisha for the second time. The fate of Aksinya, and in turn Grigory, was decided by a stranger. Here again it should be said that the only thing that affects the fate of Cossack women is only love, an eternal feeling.

The fates of female Cossacks are in many ways similar. Despite all the sorrows, they try to make life better. Their fate often depends on other people's decisions, external circumstances, but the ability to accept this and fill their lives with love for others distinguish them from male images. Neither politics nor the new government will force them to change their aspirations to know happiness. And in the end it becomes clear that it was not whites and reds who thought about the future most of all, but wives and mothers who, despite grief, war and betrayal, continue the human race, are ready to understand and forgive a lot.

If only for me, young, a crow of a horse,
If only for me, young, a crow of a horse,
I would be a free Cossack,
I would be free, young!
Russian folk song

In the novel by M. A. Sholokhov "Quiet Flows the Don" a large place is occupied by the images of Russian women from the people. They are written with amazing penetration into their spiritual world. Strong in character and proud in heart, Aksinya; meek and hardworking, pure soul Natalia; wise, courageous Ilyinichna; cheerful and cheeky Daria; captivating with the girlish, youthful beauty of Dunyasha. But the brightest of Sholokhov's heroines is, in my opinion, Aksinya Astakhova. She stands out for her special charm of external and internal beauty, strong and courageous character. Having early experienced all the bitterness of a woman's joyless fate, Aksinya boldly and openly rebels against her slavish, humiliated position, against patriarchal morality. In her passionate love for Grigory Melekhov, a resolute protest is expressed against ruined youth, against the torture and despotism of her father and unloved husband. “For the whole life for the bitter, love! And then at least kill."

Throughout her life, Aksinya carried love for Grigory, although she also had to endure insults from her beloved. The strength and depth of her feelings were expressed in a selfless readiness to follow her beloved to the ends of the world, to endure the most difficult trials with him. "Proudly and high she carried her happy, but shameful head." For the sake of Gregory, Aksinya left her native farm, worked as a farm laborer at Listnitsky, went with the rebels to "retreat", shared with Gregory all the hardships of camp life. She still loved him with debilitating passion: "You entered me, damned, for life." And for the last time, at the call of Gregory, she leaves her house with the hope of finding her "share" with him in the Kuban. But happiness, elusive, like a firebird, is not given into hands. A stray bullet in the pre-dawn silence ends Aksinya's life.

Sholokhov paints the image of Natalya with completely different colors. Unlike the passionate and impetuous Aksinya, Natalya restrains her feelings, hides both love and resentment in the depths of her soul. Yes, and the life of Natalia is different from the life of Aksinya: she grew up as a beloved daughter in the family of her parents. Aksinya, at the age of 16, was raped by her own father, she was married to an unloved one. Natalya's parents went to meet her: she married Grigory for love, although, judging by her father's wealth, she could have been found a more profitable match. She loves Gregory both out of a sense of duty, since they were married in a church, and out of the dictates of her heart. Despite the humiliation and shame that a failed marriage brings, Natalya is selflessly devoted to her husband, children, and family. She does not seek, like others, consolation on the side. Until the last minute, she hopes for the return of her husband who left her and, dying, forgives him.

An inexhaustible supply of strength lurks in Ilyinichna's soul. Moral fortitude helps her overcome the innumerable bitter misfortunes and heavy losses that have fallen to her lot. The first years of Vasilisa Ilyinichna's marriage, her life with the cool, wayward Panteley Prokofievich were not easy. Although he was often wrong and even unjustifiably cruel towards his wife, "right" was always on his side. In the conditions of the old kondovoy life, the wife had to endure everything in silence, there was no one to count on. However, the moral strength of Ilyinichna was so strong that over time she managed to curb her exorbitantly quick-tempered husband, under her influence he changed for the better.

In a short time, Ilyinichna loses her husband, eldest son, beloved daughter-in-law Natalya, is experiencing the death of Daria. With silent suffering, she endures all this and lives only as a "youngest" - Gregory. Only love for her son warms her heart, keeps her on her feet. Yes, in fact, the entire large Melekhov family rests on her, she is the moral core of the family.

Daria Melekhova is perceived as a broken, dissolute woman, ready to "twist love" with the first person she meets. But then the decisive hour comes - and behind her cynical, consumerist morality, behind her swagger, something else, hitherto hidden, is revealed. Daria firmly decided to die so as not to live a disfigured "bad disease" - this is both a proud challenge and human strength. Only now the world around her opens up to her from a previously unknown side: “I have lived such a life and was kind of blind ... I turn around, I look - Lord, what a beauty !! And I didn’t notice her.” Now she does not laugh, as before, at Natalya's fidelity, strictness, purity, but, on the contrary, she envies such love: “I would now start my life all over again - maybe I would become different?” material from the site

Using the example of the image of Dunyasha Melekhova, the author of The Quiet Flows the Don shows how a strong female character is formed. On the first pages of the novel, Dunyasha appears as an angular, clumsy teenager, a spontaneous and funny girl. The elders still protect her from overwhelming physical exertion, from clashes with the harsh truth of life. But the more losses the family bears, the more worries and responsibilities fall on the shoulders of the girl. She makes her own decision about marriage, despite the categorical unwillingness of her mother. After Ilyinichna fell ill, Dunyasha actually becomes the head of the once large Melekhov family.

The gallery of female images created by Sholokhov on the pages of The Quiet Flows the Don is one of the most memorable female characters not only in Russian, but also in world literature. Their external and internal beauty, stamina, devotion to a loved one, sense of duty, ability to withstand adversity give the reader a moral example of vitality.

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On this page, material on the topics:

• the image of Dunyasha in the novel Quiet Don Sholokhov
• the image of a Cossack woman in the novel Quiet Don
• Vasilisa Ilyinochna from The Quiet Don
• the image of Daria in the novel Quiet Don the position of the author
• The image of Dunyasha in the quiet Don

One of the most beloved heroes of the work "Quiet Don" for the author and readers is Dunyasha. The author is very sensual towards the heroine, because it is not for nothing that he affectionately calls Evdokia Panteleevna Melekhova Dunyasha.

Sholokhov represents the heroine from an early age. Over time, the girl grows, not only her appearance changes, but also her life.

Outwardly, the author presents Dunyasha as a thin girl with brown eyes and dark hair. The older Dunyasha gets, the more beautiful. By the age of fifteen, she becomes a pretty, prominent girl. She took after her father with her dark skin. With her long pigtails, the girl disposes to herself, they give her childish carelessness. The girl is distinguished by special kindness and calmness, but at the same time she is very persistent and strong in character.

Dunyasha always has a lot of housework to do. She is very economical and hardworking. Now she milks the cow, then she lubricates the wheels, then she picks hay, then she sows wheat. Despite the fact that the heroine always has chores around the house, Dunyasha is still very educated. There were difficulties with education at the beginning of the twentieth century, however, the girl grew up very well-read, educated. To all this, by the age of fifteen she could write and read quickly. She learned all this on her own.

Dunyasha's life has not been the best since childhood. From an early age, the heroine loses almost all of her relatives. The only survivor is her brother Gregory.
At the age of 15, sympathy arises between Dunyasha and her neighbor Misha. They constantly see each other, spend evenings together. Every time Dunyasha falls in love with Misha more and more.

The war begins, but this does not stop the children. They rarely and fleetingly continue to see each other. In the war, Mikhail kills the heroine's brother. Dunyasha's relatives forbid her to see each other and think about Misha. But you can't tell your heart. She continues to love him blindly. Dunyasha is torn between her beloved and her family.
As a result, the wedding took place. Dunyasha managed to persuade the atheist Misha to get married in a church. This once again shows her authority.

In the image of Dunyasha, one can understand how, in such a difficult wartime, to preserve kindness, humanity, sincerity. Dunyasha lost all her relatives, but remained strong, strong-willed, but at the same time a good and sensual person. Deception, bad deeds did not break her.

Composition about Dunyasha (Quiet Don)

Dunya Melekhova is the younger sister of Grigory Melekhov in the novel Quiet Flows the Don.

At the beginning of the novel, Dunyasha appears as an angular teenager, his father's favorite. She is a black-eyed thin girl with pigtails. The novel shows how her growing up takes place, from a clumsy teenager Dunya Melekhova turns into a beautiful young girl. She looks like her father, swarthy, black-eyed, slender. Dunyasha is a literate girl, which is a rarity among the Cossacks. She can read and write. In addition, Dunyasha is an economic and sharp-witted girl. She is in love with Mishka Koshevoy, who, oddly enough, later turns out to be an enemy of her family. The time of the civil war of the “reds” and “whites” makes its own adjustments to the life and relations of ordinary people.

Dunyasha's relatives die, she loses her parents and brother Peter. The most annoying thing is that her beloved Mikhail is on the opposite side, on the side of the "Reds", but no matter what, Dunya does not give up her love. The Melikhov family flatly refuses to give Dunya for Mikhail Koshevoy, as a result, they still get married at night in the church.

After the wedding, Dunyasha becomes prettier, becomes beautiful with that feminine, calm beauty. But her anxiety for her brother does not leave her, Gregory was left alone with her. Despite everything, Dunya and Grigory are trying to maintain family relations, Dunyasha's husband is dissatisfied with this. Their relationship begins to go wrong, and Dunyasha, as if between two fires, cannot leave either her brother or her husband. It was at this time that it is clear how difficult and not calm her life is, Dunya is torn between her beloved husband and brother, cannot reconcile them and suffers from this. Once she manages to save Gregory from arrest, after listening to her husband's conversation, she understands that he wants to extradite Gregory, and persuades him to run away from the farm.

When Grigory and Aksinya flee the farm, Dunya takes custody of Grigory's children. It becomes clear that she is a real Russian woman, with a strong will and a good heart. For Dunyasha, family feelings are very strong, she feels sorry for her brother and his children, she is afraid for her husband in such a turbulent time. The image of Dunyasha, the image of a strong Cossack woman who achieves her goal no matter what, does not abandon her brother and his children, despite her husband's displeasure.

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Dunyasha is the youngest of the Melekhovs, Grigory's sister, one of the heroines of the novel Quiet Flows the Don. At the beginning of the work, she appears before the reader as a big-eyed, angular teenager with thin pigtails. Over time, she turns into a slender, black-browed Cossack with a proud disposition and obstinate character. This hard-working teenage girl represents a new generation of Cossack women. She will have a different life, not like that of Ilyinichna, Natalya or Daria. The image of Dunyasha is permeated with lyricism and dynamism of youth. The author associates it with the dawn - rising hope. Having passed the difficult path from a teenage girl to a beautiful Cossack woman, she managed not to tarnish her dignity in anything.

She has a special perseverance. Having fallen in love with Mishka Koshevoy, she never thought about anyone else. Despite all his bloody crimes, she nevertheless married him, and now she had to reconcile her opponents in the same house: brother and husband. At the end of the novel, it is the sonorous Dunyasha who remains the mistress in the ruined house of the Melekhovs. The death of all relatives, including her brother, father, mother, daughter-in-law, niece, she takes close to her heart. But despite this, we must continue to live on.